Black Metal / Industrial Metal / Avant-garde Metal • Norway
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Dødheimsgard (sometimes shortened as DHG) was originally a Norwegian black metal band formed in 1994, but 1999's 666 International saw them change into an experimental and avant-garde metal band. They went through some lineup changes, replacing Aldrahn, Zweizz and Czral.

"Dødheimsgard" is a conjunction of three words: Død which means death, heim which means home and gard which means (at least in this context) mansion. A natural translation into English would be "Mansion of Death", alternatively Realm of the Dead/Death.

In 2006 they completed the new album Supervillain Outcast, which was released in April 2007 by Moonfog Productions and The End Records.
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DØDHEIMSGARD albums / top albums

DØDHEIMSGARD Kronet til konge album cover 2.50 | 2 ratings
Kronet til konge
Black Metal 1995
DØDHEIMSGARD Monumental Possession album cover 3.71 | 3 ratings
Monumental Possession
Black Metal 1996
DØDHEIMSGARD 666 International album cover 3.95 | 16 ratings
666 International
Black Metal 1999
DØDHEIMSGARD Supervillain Outcast album cover 4.53 | 17 ratings
Supervillain Outcast
Industrial Metal 2007
DØDHEIMSGARD A Umbra Omega album cover 4.39 | 6 ratings
A Umbra Omega
Avant-garde Metal 2015


DØDHEIMSGARD Satanic Art album cover 3.88 | 4 ratings
Satanic Art
Black Metal 1998
DØDHEIMSGARD Mork Skog album cover 0.00 | 0 ratings
Mork Skog
Black Metal 2005

DØDHEIMSGARD live albums

DØDHEIMSGARD demos, promos, fans club and other releases (no bootlegs)

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DØDHEIMSGARD movies (DVD, Blu-Ray or VHS)



Album · 2015 · Avant-garde Metal
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Out of all the black metal bands to emerge from the Norwegian scene in the 90s perhaps none have strayed so far from its roots as has Oslo’s DØDHEIMSGARD and while not exactly the most prolific band having only released a mere five albums and one EP since its 1994 formation, nevertheless continues to sporadically release some of the most challenging and bizarre avant-garde metal releases that still retain the black metal template which launched their existence. The band which has had numerous lineup changes since its formation has had as many stylistic shifts culminating in the innovative industrial / black metal hybrids of “666 International” and “Supervillain Outcast.” The former was released all the way back in 2007 and then the band seemingly fell off the face of the Earth but in reality was slowly conjuring up its biggest surprise of all, namely 2015’s fifth full-length release A UMBRA OMEGA (In The Shadow Of Omega).

This is an entirely new lineup for DØDHEIMSGARD with only founding member Vicotnik still around over twenty years later and the result is truly an entirely new sound that takes black metal into even stranger more challenging extremes. This is an album that i had to wait several years to fully grasp as it eluded me for the first few listens, a feat that is almost non-existent in my reality since as a music nerd i’m fairly quick to latch onto musical challenges but despite the fairly accessible opening hooks that exist on A UMBRA OMEGA, the album delivers a labyrinthine system of alternating between high octane black metal outbursts (usually at the beginning of the six tracks and then revisited) along with a mix of everything from post-metal sounding segments, Floydian space rock, classical piano runs and even trip hop amongst others. While not the first to employ such adventurous tactics of juggling disparate genres, the beauty of A UMBRA OMEGA is how seamlessly integrated all these extra touches are stitched together and add a perfectly polished production job and you will be treated to a perfect avant-garde metal delivery if only you have the patience to allow this near impenetrable fortress of sound to open its gates for your arrival.

Like any album that excels in complexities rarely reached in a musical format, A UMBRA OMEGA is one that requires 100% of your attention being focused on every intricate development of the musical flow. If this music is thrown on willy nilly as background music then this will sound like utter gibberish. The six tracks meander all over the place but the melodic development does provide a stream of consciousness which threads it all together so this album isn’t as impenetrable as some of the most extreme examples of avant-prog or some of the avant-jazz fueled brutal prog out there. This one almost sounds like it was constructed like an electronica album that implements changes in tone clusters and timbres dressed up in musical styles to convey its message. The tracks start out with bombastic black metal fueled tremolo guitar riffs and blastbeats but after a while they dissolve into more surreal passages that generate electronic fueled space rock accompanied by classical piano. Perhaps even stranger yet is the weird shared vocal styles of Vicotnik and Aldrahn’s semi-spoken heartfelt lyrical deliveries that literally sounds like nothing else i’ve ever heard.

This is definitely a case of a band going for the art rock jugular as this is a truly challenging listening experience where every sonic addition is a stroke on a magnanimous musical canvas where no compromise is made for the sake of the non-musical types out there who don’t embrace the pinnacle of artistic evolution and while the whole project may come off a bit self-indulgent and disconnected from the pulse of the commercial metal scene, that’s exactly the point. This is the type of musical project that is targeted for those interested in hearing something hitherto unexperienced. After a few years of letting this one sink in, i can only conclude that this is a work of genius and continues the intermittent legacy of Norway’s weirdest extreme metal band in perfect form. Clearly DØDHEIMSGARD is a musical project that emphasizes quality over quantity and with A UMBRA OMEGA, the band produced its most intricately sophisticated oeuvre to date. Although Aldrahn departed in 2016, a new album has been purported to be in the making. Where will this strange band go next? It is futile to even attempt such a prediction. Simply wait patiently and find out when that day comes.


EP · 1998 · Black Metal
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After two albums of fairly orthodox and good old fashioned second wave Norwegian black metal, DODHEIMSGARD started to get a lot more experimental and playful with their demented and devilish musical madness. Serving as a tradition of sort, they released an EP titled SATANIC ART in 1998, two years after their second album “Monumental Possession” and a year before their third “666 Internation.” SATANIC ART finds the band at an interesting halfway point between their second wave black metal origins and their avant-industrial leanings that follow.

SATANIC ART finds not only another lineup change but a few guest musicians adding all kinds of interesting new elements to the band’s new fangled black metal smorgasbord. This EP despite its short duration offers many transitions and not only musically. Svein Egil Hatlevik aka Mr. Dingy Sweet Talker Women Stalker (Fleurety) would debut as keyboardist and Galder (Dimmu Borgir, Old Man’s Child) would pick up extra guitar duties but only on this one release. Cerberus replaced Jonas Alver on bass.

“Oneiroscope” introduces the new Dodheimsgard with a piano piece that sounds like demented carnival music in a minor chord or even a psycho-drama flick soundtrack piece with lots of murder scenes. While “Traces Of Reality” reverts into the super bombastic black metal of the past, it is punctuated by a “White Zombie-esque” sampling, eerie atmospheric keyboard effects and most surprisingly the guest musician Paganini virtuosity of guest violinist Stine Lunde. “Symptom” continues the black metal bombast but adds some underpinnings of industrial metal that would surface on “666 International.” “The Paramount Empire” also sticks to black metal a la “Monumental Possesion” but with a more loosy-goosy construct. The Finale “Wrapped In Plastic” is another piano driven outro.

Although this EP originally only clocked in at just under sixteen minutes, it exhibited more diverse elements than the first two albums combined. SATANIC ART has been virtually unattainable in a physical format at a decent price for two decades but has found at last a much needed rerelease in 2018 on Peaceville and adds a couple bonus tracks (“Black Treasure” and “Symptom (Alternate).” SATANIC ART is like dipping into the pool of avant-garde possibilities where obviously DODHEIMSGARD got the experimental bug and never looked back. Good for them because this is where they got really interesting and put themselves on the map in the metal world. Despite only being a little EP, this one is a monumental moment in experimental extreme metal.

DØDHEIMSGARD Monumental Possession

Album · 1996 · Black Metal
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DODHEIMSGARD jumped into the Norwegian black metal snake pit and became only one of many in the legions of Darkthrone imitators with their debut album “Kronet Til Konge,” which showed a group of angry misanthropic metalheads pulling off a really decent carbon copy version of albums like “A Blaze In The Northern Sky,” however quickly after they released their rather ho hum debut to the world, the band started to take itself a little more seriously and started upping their game by infusing more creativity into their second wave black metal shtick. While not quite reaching the out of the box approaches that would define them, on their second release MONUMENTAL POSSESSION some of the avant-garde explorations had already started to creep in but in the end this is a black metal album from start to finish.

While firmly steeped in the same black metal world as the debut, MONUMENTAL POSSESSION has a much more diverse palette of ideas this time around. Firstly there are more thrash leanings. While the trebly black metal tremolo picking is ubiquitous as are the blastbeats and buzzsaw guitar distortion, there are many periods of thrash riffing and even soloing. This is a stylistic fusion that would be abandoned in favor of heading down a more experimental industrial path but a blueprint for bands like Aura Noir to adopt in DODHEIMGARD’S stead. Initially released on the Malicious label before the band had become better known, this album had been rare and out of print prior to the 2016 reissue on Peaceville.

MONUMENTAL POSSESSION saw a lineup change, a feature common with many extreme metal bands. While Aldrahn and VIcotnik are back for a second round, Jonas Alver replaces Fenriz on bass and Apollyon joins the grew as second guitarist. Another aspect that makes this album much different than the previous is that Aldrahn, Apollyon and Vicotnik all share vocal duties with each having a distinct style that offers more variations in the vocal department than most black metal releases of the 90s. So in addition to the usual shrieked vocal style, Victonik offers his own bizarre croaked shouts not unlike the vocalist of Inquisition which offers a freakish sensibility to the mix.

The album is bookended by hellish sound collages that offer freaky ghoulish Satanic sounds accompanied by swirling dark ambient turbulence. It sets the tone for the album but the music is unapologetically brutal black metal with thrash elements sewn in for good measure. A huge step up from the debut and a clear link to the future is the fluid and frenetic percussive attack of Vicotnik who offers a much more varied array of drum abuse than the average second wave pummelation of skins. Avant-garde and jazzy, they point to some of the weirdness that would emerge on the most experimental albums like “666 International.” Overall, the music falls into the brutally melodic zone with distinct hooks that are augmented by the orotund bombast.

MONUMENTAL POSSESSION is a huge step up in terms of quality from “Kronet Til Konge” in every conceivable manner and while still firmly planted in the black metal universe is a surprisingly consistent and pleasant journey into the sickened Norwegian minds of these face painted miscreants. This is an album i actually enjoy and want to listen to. While this would be the band’s last true black metal album, it is one that displays their talents of pulling off more than a mere Darkthrone clone routine and finds the band coming of age just in time to jettison it for something else completely, a trait that would find DODHEIMSGARD drifting from album to album much like Ulver without ditching the metal sound altogether. Not as great as future releases but damn good for an orthodox 90s black metal release.

DØDHEIMSGARD Kronet til konge

Album · 1995 · Black Metal
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DØDHEIMSGARD (Norweigian for “Realm Of Death” formed in 1994 in Oslo by Vicotnik (drums), Fenriz (bass) and Aldrahn (lead vocals, guitar). They were yet another band who jumped on the Darkthrone bandwagon of second wave black metal and should be commended for becoming perfect clones on their first album KRONET TIL KONGE (“Crowned To Be King.”) All those early black metal traits are here in perfect replication. All the buzz saw guitars and tremolo picking, the shrieked unintelligible vocals and of course the lo-fi demo quality sound production peppered with all the anti-Christian Satanic lyrics (albeit mostly in Norweigian) about slaughtering God, winning the war and all the usual suspects.

While DØDHEIMSGARD would evolve fairly quickly even as soon as their second release “Monumental Possession” which would find them finding their own creative stamp on black metal before they would really delve into the avant-garde and industrial worlds, KRONET TIL KONGE is so generic it hurts after coming to this last after their original and creative run of “Satanic Art” to “A Umbra Omega.” In fact if you placed any of these tracks on the first few Darkthrone albums no one would know the difference except for a slightly different sound of the vocals. The song structures are nearly identical as is the overall bleak atmospheric din.

There is nothing really bad about KRONET TIL KONGE either. It’s as good as any other standard second wave black metal release of the era, but with a band as original as DØDHEIMSGARD it comes across as woefully substandard and even though i am a huge fans of this band i have skipped this one until i found the 2015 remastered version used in mint condition and took a chance. While i’m happy i have tasted this early roots era of DØDHEIMSGARD, i very much doubt if i’ll be throwing this on for listening pleasure. Average and for completists only.

DØDHEIMSGARD Supervillain Outcast

Album · 2007 · Industrial Metal
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Four full albums in from beginning as a rather ordinary second wave black metal outfit and DØDHEIMSGARD perfected their blackened industrial avant-garde metal sound on SUPERVILLAIN OUTCAST which was introduced on their EP “Satanic Art” and further developed on “666 International.” Many changes took place since the last album with the most obvious being that the band shortened their name to DHG and a huge lineup change left almost a completely new band with the only founding member Vicotnik left on his guitar, samples and programming duties. Vocalist Aldrahn left the band and was replaced by Kvohst. The bass baton was passed from Apollyon to Clandestine and Mr Magic Logic’s keyboards were dismissed while the other members picked up different secondary instrumental duties. Czral went from official percussionist to the unofficial “additional personnel.” With all this dystopia rocking the band’s world i would expect the music to sound completely different but despite it all, the music sounds exactly like the next logical step of development in the avant-garde musical world that DØDHEIMSGARD had been leading up to. Only this one is done right. Perfectly so.

SUPERVILLAIN OUTCAST begins with a short intro that makes me think of Chinese music from the 30s or something with the instrumental “Dushman” but violently bursts into black metal fury on “Vendatta Assassin” for a few measures with progressive touches of time signature freak outs and then jumps into the heavily caffeinated industrial metal sound with heavy bass and drums leading the fury and the guitars adding jittery licks at hyper speed all the while Kvohst delivers shouted vocals that are somewhat blackened but he also mixes up his vox box with death growls and whispered industrial sounding utterings. Generally speaking many of the tracks are garnished with heavy black metal riffing that alternate with industrial metal types of power chord riffing while ambient keyboards create eerie howling in the background with heavy percussive blastbeats dominating the rhythmic section and a hyperactive bass interaction to match. There is much attention paid to sound effects and electronic noises and textures to add a whole other dimension behind the metal sounds. Vocals vary quite a bit when not in extreme metal mode. There are several passages with chanting and clean vocals that steer the music into progressive metal territory.

In addition to the majority of hyper-extreme tracks there are a few that stand out from the general feel of the album. “Secret Identity” is a short a cappella track that sounds like monks chanting in some far away monastery and like many of the metal tracks has a slight trace of dissonance. The following “The Vile Delinquents” is full-on industrial metal with choppy industrial riffs and heavy electronica sound effects before erupting into more heavy guitar riffing. “Apocalypticism” sound more alternative metal and reminds me a lot of the track “Caffeine” from Faith No More’s “Angel Dust” especially in the vocal phrasing department but also has a cool guitar tone and techno like percussion. “Chrome Balaclava” is another a cappella track with several voices harmonizing wordless utterings while an intermittent shaky thing adds a little percussion. “All Is Not Self” is probably the most out-of-place sounding track on SUPERVILLAIN OUTCAST. This one sounds like a big beat techno track with vocals that reminds me of Richard Butler from The Psychedelic Furs! The electro-beat is heavy with background vocals providing ghostly haunting sounds. The fury returns on the next track and then another a cappella type shorty with “Cellar Door.”

SUPERVILLAIN OUTCAST is an outstanding album for many reasons. Firstly it is the pinnacle of the avant-garde industrial black metal sound that DØDHEIMSGARD had been perfecting and all the new musicians pull if off beautifully. Secondly the production is also perfect as every little sound is allowed space to be heard and the instruments have their own role within a larger context that create a complete band sound. Another successful strategy is the focus on the extreme avant-garde metal with little serene fillers that punctuate the frenetic nature of the album and to top it off the compositions are just perfectly catchy with super aggressive hooks and electronic embellishments to add layers of counterpoint creating a mesmerizing contrast with the dominant guitar riff focus. The black metal is perfectly balanced with the industrial and the avant-garde is used as a supplement instead of getting into territory too strange for the uninitiated listener. Personally this is one of those albums that made a huge impact the first time i ever heard it and still holds up after many listens. What could you call this? I’m not sure but think Ulver’s first album mixed with some Ministry and maybe even some Prodigy and you’re getting close.


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